Kendo: Violence or Non-Violence? - The films of Akira Kurosawa



Earlier this year I watched Ikiru by Akira Kurosawa . Translated as “To Live”, it is about Watanabe, a prefecture official who is has lived his entire life in the bureaucratic tangle of government work. He is very diligent, never missing a day of work for 30 years, yet he is lifeless, and without purpose, inspiring his co-workers to secretly nickname him “the mummy”. The story takes a turn early in the film when he discovers that he has stomach cancer, and will die soon. Upon realizing that his life has been meaningless and empty, he struggles to make amends with his pathetic existence so that he can face death. What he does is focus all his attention and efforts to changing a city dumping ground into a park for children. The remainder of the movie depicts his determination and perseverance in challenging the established bureaucracy which is known for its inefficiencies and disregard to the common people.

Prior to watching Ikiru the only Kurosawa movie I had seen was Dreams , which had impressed me greatly, but it was Ikiru and later Rashomon that inspired me to watch every Kurosawa film made before I graduated from college. It is by sheer chance that I also decided to enroll in Kendo for the summer session. Kurosawa depicts his characters in situations that test their character, in challenging situations of post-war Japan, or in the bloody conflict of feudal Japan with graphic displays of violence and cruelty the darkest hours of human existence. He is well known for his popularization of the Japanese warrior, the Samurai, in retelling of their stories of honor, defeat, and triumph, he does not hide the violent acts of the times. However there is an overlying theme in all of his films, especially his Samurai films: In the midst of violence and human darkness there exists a universal voice of humanity and harmony between living things, one of non-violence. This understanding and strength of spirit mush be found within, despite hardships and illusions. Kurosawa himself was a Kendo practitioner in his youth, earning top rankings in his class in elementary school. He also glorified the Samurai in his films, immortalizing their courage and determination through their code of honor, while humanizing them with weaknesses and persevering tests of character in dire times. As the teachings and disciplines of Kendo can be applied to life, Kurosawa applied similar themes towards the understanding and portrayal of humanity’s personal choice towards a life of harmony and non-violence in his films.

In addressing the question of Kendo being “violent” or “non-violent”, one must acknowledge that it is the nature of things to have no absolute, something cannot be totally bad or totally good, thus Kendo cannot be totally violent, or totally non-violent. Also, the strong influence of Zen Buddhism to the warrior class of Samurai in Japan sets precedence for the philosophy surrounding modern Kendo as a martial art. The foundations of Zen represent a path, or way of life through which enlightenment is found. However a discussion on whether or not Kendo is violent or non-violent is much like a discussion on the violence or non-violence of Zen. Ultimately the question suggests a certain level of detachment from the individual’s control over his own actions; Kendo is neither violent nor non-violent, the individual however chooses which path to take. It is a similar question as to whether the bushido code of the samurai was to blame entirely for the war crimes committed by the Japanese empire during WWII, or if there is something genetically unique about the Yamato race that makes them prone to violence. All of the above represent questions that ignore the basic responsibilities for the character of the individual. The path and realizations of Zen are internalized, holding the individual accountable for his actions. Through discipline, and combat a Kendo practitioner realizes the co-existence of things, his opponent, himself, and the world. Zen’s ultimate aim is to free the individual from anger, illusion, and false passion. If one can internalize their foes and their adversaries and realize that the struggle is within, then the act of physical action ceases to be simply violence. An example of this is the fabled Musashi who after a successful career as a swordsman, he internalized his skills to contribute to his personal development . The way of the warrior can become the way of the peaceful warrior. Kurosawa shows that this journey is not isolated to the Tokugawa peace Samurai, nor the Samurai of the warring periods; he paints a similar journey through all walks of life very well in his films.

The term Heiho has two meanings, although pronounced the same, they can be represented in two characters, one meaning the way of martial arts, and the other the way to peace according to Chosai, ‘heiho is heiho’ . giving rise to the pun ‘heiho is heiho’ the way to martial arts is the way to peace. As Miyamoto Musashi compares his Heiho of swordsmanship as similar to the crafts of the artisan, and to the pen (brush), the films of Kurosawa hold similar meaning. Kurosawa brought his characters to life on screen in very human portrayals, regardless of their backgrounds or status. Even the strict and honorable samurai who were bound to a strict code of conduct, Bushido held elements of human nature, and even in situations that challenged their values and code of conduct, they sometimes adhered to a higher power of humanity, one of non-violence. A misconception is that the characters, usually samurai in Kurosawa’s films act morally and justly simply because of their strict code of conduct and sense of honor. Instead, these individuals acted justly to challenging situations because they found the goodness of character from within, and were able to channel it to their benefit. This concept is held across the board for all of the characters, in fact none of Kurosawa’s, heroes, or villains fit the typical dichotomy of good or evil. They are without an absolute, particularly containing flaws in their character to which they can overcome by attaining a greater understanding of humanity.

An interesting note is the fact that many of Kurosawa’s films, like Kendo were subject to censorship by the GHQ as being too similar to Japanese nationalism which had been associated with the warrior code of the samurai, and therefore too dangerous. In Sugata Sanshiro there is a scene in the middle, which is cut and replaced with captions and its sequel Zoku Sugata Sanshiro has been prevented from distribution in the United States . This may be because of its nationalist and therefore “Anti-American” messages revolving a bout between Sugata and an American boxer . Tora no O wo Fumu Otokotachi, which was released in 1945, was kept from public viewing until 1952 because of its traditional tribute to the Samurai spirit.

Although not all of Kurosawa’s films are about Samurai or the eras from which they best known for, I could not help but see the similarities and reoccurrence of key themes in his films and the philosophies that have been presented in this course. Although there are several differences from Kendo and Judo , the theme of martial arts and violence is prevalent. Kurosawa’s first film, Sugata Sanshiro “Judo Saga” (1943) is a prime example of the non-violence in martial arts. Sugata is very strong, as his Sensei scolds him, perhaps even stronger than his master. Sugata has also begun to use his skills to fight in public, with no particular purpose but for the sake of violence. He is told “teaching Judo to a man with no purpose is like giving a knife to a lunatic”. Sugata disagrees, and pledges to his Sensei that he is willing to die for his master, and jumps into a pond, holding onto a stake in the middle. Later in the evening, a Zen priest approaches the determined Sugata and tells him that the stake he holds onto is his life, without it he will sink into the mud. After a while Sugata notices a lotus blossom in the moonlight and reaches a sort of enlightenment or understanding similar to what is described as Mushin in Kendo. Afterward he jumps from the pond and bows to his master. He has been able to suppress his ego, he understands. Whenever Sugata wavers, he is scolded by the priest to “be pure”, to be “innocent”, as he was when he sat in that pond.

The rest of the film tells the story of Sugata as he is approached with three challengers, from rival schools of Jiu-jitsu. Judo and Jiu-jitsu must fight each other. All three bouts can be categorized with violent acts, as two men stare at each other in the field of combat. Sugata is victorious in each match, but he does not enjoy victory merely for the sake of violence. With the outcome of each match he learns the dangers of his path as a martial artist. He kills his first opponent with a single throw, only to motivate his daughter, who makes a failed attempt on Sugata’s life. His second duel is with an older Jiu-jitsu master, Murai whose daughter Sugata meets at the temple praying for her father’s victory. During this bout Sugata is troubled, as he is clearly stronger than his opponent, but does not want to destroy him. Sugata defeats Murai, almost crippling him. He then visits the old master at his home and shares a meal with him and his daughter. Amidst a field of tall grass in the howling wind, Sugata confronts his final foe Tagaki, a disciple of Murai to a fight to the death. When the Zen priest called to witness the match asks them to reconsider this death match, Sugata replies, “We are young and foolish, it is our destiny”. After a brutal fight, Sugata is victorious; Tagaki is seen falling down a hill of grass. We later learn that Tagaki too has changed, and considers Sugata a friend now. Very similar to the life rendering / death rendering sword – in order to be merciful and non-violent, one must be able to destroy. For it is only after his duels from which Sugata is victorious that he and his former adversary are about to reconcile and become friends. This lesson is similar to the of the life rendering / death rendering sword. Only after developing the ability to destroy one’s opponent mercilessly, can one be able to refrain from violence. In this aspect Sugata Sanshiro creates an argument for non-violence.

In Tora no O wo Fumu Otokotachi , a group of loyal retainers accompany the recently exiled and condemned Genji general Yoshitune as he attempts to flee to a neighboring lord’s territory while disguised as a traveling party of monks. When their plan is put into jeopardy, the brave samurai prepare to lay their lives down in defense of their lord. The wise warrior-priest Benkei intervenes insisting that they at least attempt to avoid bloody confrontation at all costs, yet remain prepared and reserved to react decisively. This thinking is very similar to that of as swordsmen Bokuden, who urged his disciples to avoid violence as a first strategy .

Kurosawa’s first academy award Rashomon is based on a medieval short story about a bandit who attacks a samurai escorting his lady through the woods. The bandit immobilizes the samurai, and then rapes his wife. The samurai is later found dead, his wife found hiding in a monastery, and the bandit abducted by the shore of a lake. What makes Rashomon different is that it is a tale told from the different perspectives of the different characters, none of which quite fit together. In almost a parody of the samurai and warrior class, one version of the story depicts a frantic battle between the bandit and the samurai, resultant from the wife who demands that one of them die to preserve her honor. Both charge clumsily at each other, hands shaking, tripping over their feet. In the end the samurai is killed, almost by accident it appears, a victim of forced violence fueled by a notion of personal honor. In Kendo we are taught to suppress the ego, which gives arise to such desires, which may in turn evoke unnecessary violence.

Perhaps the most famous Kurosawa film of all time is Shichinin no Samurai aka Seven Samurai. It is an epic story that touches so many different points of the human condition that it has been remade several times, and been hailed by audiences from all over the world. When bandits terrorize a small village, some of the farmers go to the city to recruit samurai to protect them. They offer to pay them only in rice, something unheard of for professional swordsmen. Their leader for leaving his post scolds Mifune’s character, war is never won through personal glory, only through teamwork. The concept of co-existence and interdependence is stressed in this film, not only between the seven samurai, but also with the peasants in the village. Another concept seen in this film is once again, that of the life-rendering/death-rendering sword . One of the samurai is a master swordsmen who is first seen in the middle of a duel. Instead of swords, they use bamboo sticks. One samurai declares the match a draw, but the master insists that he has won, and walks away. The first samurai is angered, and demands a rematch, this time with real swords. The master swordsmen wins this time, and his opponent’s sword never touches him.

Kakushi Toride no San-Akunin is memorable for a scene in which Rokutada played by Mifune is cornered and allowed to fight one-on-one with the army’s general. Upon defeat, the general prepares to be killed, yet Rokutada spares him. In the end his lord and then defects to the other side scar the defeated general in the face. Knowing that this movie served as an inspiration for Star Wars brings in the realization of the suddenly Zen concept of dark and light side of “the force”, which could be perceived as the urge for necessary or unnecessary violence.

Two of the most famous samurai films that Kurosawa is known for are Yojimbo and Tsubaki Sanjuro , which the sequel to Yojimbo. The story is about a nameless swordsman played by Toshiro Mifune who has no master, nor purpose, but is an expert in his skill. In Yojimbo he comes across a town that has erupted into gang warfare, and he joins in the middle of it, playing both sides. Here is a very violent depiction of a samurai mercilessly killing gangsters left and right, provoking them into all out battles in the village square while he sits on the watchtower gleefully watching. Yet the softer side of this ronin emerges as he risks his life to rescue a young woman and her child, and returns them to her husband, along with all of his gold rye. In conversation with a restaurant owner, the samurai states that he doesn’t mind killing the gangsters as they are evil, and deserve to die. In Tsubaki Sanjuro the nameless ronin played by Mifune returns in the middle of a clan battle in which corruption has been discovered by a group of clueless samurai. For no reason or benefit to his own, Mifune’s character decides to help them. There is a scene in which he is going to infiltrate the enemy’s stronghold and needs to give a signal to the rest of the group. He suggests burning the house down. Two proper ladies in waiting (who he has previously saved) scold him and suggest that he finds something not so violent. Sour faced, he reconsiders, and announces the signal to drop a bunch of Tsubaki (camellias) in the river. In the final scene of the movie his adversary on a dusty road who demands a duel after being disgraced by Sanjuro confronts Sanjuro. At first Sanjuro declines, a reaction is not one that one might expect from a samurai that is obsessed with violence. However after an argument, Sanjuro agrees, and then kills his opponent with a single move, releasing a geyser of blood. Even though victorious, he laments his opponent’s death as unnecessary, even with though it resulted out of self-defense.

Which brings us back to Ikiru. It is a story of struggle, of despair, but most importantly a story of a man finding purpose in his life, something to carry on, something to live for, thus preparing for death. The title itself means “to Live”, something that all of us ask at one point, what is the purpose of life? What has made a lasting impression is that Watanabe finds his salvation from within himself, the strength and will to die peacefully, to die a warrior. Violence and Kendo itself is a self-manifestation, just as Watanabe discovered meaning in his life when faced with death, he had a choice on how to react. He could have lashed out at the world in a fit of rage and in anger, which would be very understandable. Yet instead he finds an alternative, and is able to come to terms with his situation. At his funeral, his fellow co-workers reflect on his last few weeks while still alive, astonished by his determination and persistence to secure the seals needed to build the city park. One by one, in a drunken stupor, they vow to continue Watanabe’s legacy and work for the good of the people, while they still have time. Of course the irony of these vows is that they prove empty, as the final scene shows the prefecture office, as inefficient and useless as the beginning. The choice is still up to individual. Just as the samurais in Kurosawa’s films had a choice to conduct themselves in situations that called for violence, many reacted in ways that were necessary, and resisted the urge for unnecessary violence. To say the Kendo is violent or non-violent is to detach the individual’s responsibility for discipline and choice. A warrior reacts to life’s circumstances and uses it to his advantage; even in the face of death.

Although my motivations for taking Kendo this Summer were not influenced by this side project of viewing all of Kurosawa’s films, both of these endeavors have complimented each other in more ways than one. My first encounter with the “Way of the Sword” has been a mixture of cultural reclaiming as a Yonsei, combined with a sense of philosophical digging as a college senior. Kendo has philosophical roots in Zen Buddhism, and is related to bushido, the code of the samurai. In studying Kendo, I have found a need to watch Kurosawa’s films once again as they have new meaning now with a gained perspective.

References:
Ikiru “To Live” (1952) by Akira Kurosawa
Akira Kurosawa (1910-1998) has been hailed as one of the greatest film directors of all time in Japan, as well as the world. Although originally inspiring to be a painter, he eventually made his way into the studio as an assistant director, and directed his first film Sugata Sanshiro which was released in 1943. He has been a prolific filmmaker that has found international acclaim, and been the inspiration of several influential filmmakers today. Several of his films have set the groundwork to blockbuster remakes, such as Star Wars (Hidden Fortress), Magnificent Seven, Bugs Life (Seven Samurai), Last Man Standing (Yojimbo).
Dreams (1990) by Akira Kurosawa a set of short stories in a dreamlike sequencing.
Rashomon (1949) Akira Kurosawa, with Toshiro Mifune.
King, Winston “How Zen Discipline Shapes Japanese Martial Arts” Japanese Martial Arts and American Sports pg 125
King, Winston pg 124
Kiyota, Minoru, Kendo page 27
Miyamoto Musashi, The Book of Five Rings
Kiyota, Minoru “Epilogue The internationalization of Kendo: a Critique” Personal Growth through Martial Arts pg 81
General Headquarters, reference to the occupying American force in Japan after WWII.
According to a Kurosawa fan and staff member of Four Star Video Heaven on State Street, Madison, WI
I have not seen Zoku Sugata Sanshiro, but intend to.
Kiyota, Minoru “From Classical to Modern Kendo” Japanese Martial Arts and American Sports pg 69
Sugata Sanshiro “Judo Saga” Toho Productions, Japan 1943 Sugata is a young man searching for a Jiu-jitsu instructor in late 19th century Japan. On the very first night he finds an instructor, he is witness to a midnight ambush with a rival instructor who is teaching a modern form of Jiu-jitsu “Judo”. Outnumbered, the Judo instructor positions himself in front of a canal as he successfully defeats his attackers, tossing them into the water. Sugata realizes that he has found his master and follows him home.
Kiyota, Minoru “From Classical to Modern Kendo” Japanese Martial Arts and American Sports pg 75
Tora no O wo Fumu Otokotachi “They Who Step On The Tiger's Tail” Toho Productions, Japan 1945
Kiyota, Minoru Kendo pg 46
Rashomon Toho Productions, 1950
Shinchinin no Samurai “Seven Samurai” 1954
Kiyota, Minoru Kendo pg 33
Kakushi Toride no San-Akunin aka The Hidden Fortress (1958) has been said to have been one of the inspirations for the Star Wars series, upon watching it one can identify several characters who resemble those found in George Lucas’s trilogy.
Yojimbo “Bodyguard” 1961 Remakes have been made Tsubaki Sanjuro “30-year old Camillia” sequel to Yojimbo (1962)

Akira Kurosawa Film List: (* = Kurosawa films seen as of Spring-Summer 2001)
*Sugata Sanshiro (1943) Ichiban Utsukusiku aka The Most Beautiful (1944) Zoku Sugata Sanshiro (1945) *Tora no O wo Fumu Otokotachi aka They Who Step On The Tiger's Tail (1945) *Waga Seisyun ni Kui Nashi aka No Regrets For Our Youth (1946) Asu wo Tsukuru Hitobito (1946) *Subarashiki Nichiyoubi aka One Wonderful Sunday (1947) *Yoidore Tenshi aka Drunken Angel (1949) Shizukanaru Ketto aka The Quiet Duel (1949) *Nora Inu aka Stray Dog (1949) *Shubun aka Scandal (1950) *Rashomon (1950) *Hakuchi aka The Idiot (1951) *Ikiru (1952) *Shichinin no Samurai aka Seven Samurai (1954) *Ikimono no Kiroku aka Record of a Living Being (1956) *Kumonosu-Jo aka The Throne of Blood (1957) *Donzoko aka The Lower Depth (1957) *Kakushi Toride no San-Akunin aka The Hidden Fortress (1958) *Warui Yatsu Hodo Yoku Nemuru aka The Bad Sleep Well (1960) *Yojimbo (1961) *Tsubaki Sanjuro (1962) *Tengoku to Jigoku aka High and Low (1963) *Akahige aka Red Beard(1965) *Dodes'ka-den (1970) *Dersu Uzala (1974) *Kagemusha (1980) *Ran (1985) *Akira Kurosawa's Dreams (1990) *Rhapsody in August (1991) *Madadayo (1993)

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